Hirugarren Belarria
As an appendix to the second edition of Hirugarren Belarria, dedicated to the idea of transgression, we present a workshop and conference offered by the cultural critic and theoretician, Diedrich Diederichsen.

This edition of Hirugarren Belarria insists on the potential of hearing to explore what is sacred: in tension with the "world of meanings", hearing offers the opportunity to submerge in matters that cannot be assumed by human language, bringing us closer to an extreme limit. In any case, it is important to remember that "the unnameable", that to which we refer as "the sacred", is also affected by the very foundations of words and, therefore, is part of the Reality in which we live and which we have built.

Therefore, we cannot ignore all the forms of consecration man has built with his language. The proposals of the workshop include an analysis of the bases that uphold the most sublime of contemporary metaphysics: the global market and its "spirit".

As suggested in many texts, the development and expansion of the capitalist economy implies the construction of a uniformed subject, defined as an "entrepreneur", fully devoted to performance and competition. Someone who is, therefore, in constant contact with that which is too much for him. A number of devices require him to be the protagonist of his "own" life, the one who rationalises his own desire. In replacement of any indication of profound existence, we would be dealing with a true "administration of the soul". A condition which, back in the land of the arts (in terms of experiences in which it is still possible to escape from the devices of power and knowledge), lead us to think of the material conditions under which they are developed: the intermediate spaces where music and visual arts, mercantile flows and artistic formalisation, but also institutional dynamics, come into contact with each other.

The re-materialisation of the musical object
15  May, 19pm:  Conference with Diedrich Diederichsen.
15-16  May: Workshop with Diedrich Diederichsen

Based on three basic situations, I am going to discuss the possible results of the term non-cochlear1 and, in particular, its relationship with the comparison between artistic practices understood as genre, to finally come up with an imitation of this rhetorical idea, which will be the debate on the de-materialisation and re-materialisation of the musical object.

The workshop will focus on the discussions between the materiality/immateriality of sound objects in relation to (a) their ontology, (b) market and distribution and (c) the other arts.

I would like to look at the case of non-cochlearity from these three perspectives. There is a similarity between the dual form in which an artistic practice observes the world and its competitors, other artistic practices and the way in which a capitalist entity, a company, sees the market on the one hand and its competitors on the other. This constellation leads to self-descriptions and definitions of an essential characteristic or advantage. Of a specific advantage or exclusive sales argument. In turn, the situation produces reassuring self-identities and, at the same time, movement and development. Therefore, there is an internal gap in each artistic practice, a place of translation or transformation that is in some way related to the definition of this specific advantage or essence. This definition either closes the gap or declares it to be a strong point. However, this internal gap is a reality of production and/or distribution and cannot be easily avoided.

Finally, we have the logic of institutionalisation. An artistic practice that becomes an institution has satisfactorily hidden or rendered invisible its internal translation problem. Now, a different logic comes into the debates and discussions in this field: the logic of revolution, Oedipus, the generational change, the unavoidability of technological change, etc.

Diedrich Diederichsen